Pablo Casals substituted a soprano saxophone for a trumpet in his complete recordings of these works in 1950 and 1964. The third movement of the first piece was later used for "Auf, schmetternde Töne" while its first movement became the sinfonia of Falsche Welt, dir. The "affetuoso" movement in the fifth of these works uses a theme from Louis Marchand in addition to featuring a 65 measure solo cadenza for the new harpsichord in (*) Cothen. The fourth strangely suggests t
Pablo Casals substituted a soprano saxophone for a trumpet in his complete recordings of these works in 1950 and 1964. The third movement of the first piece was later used for "Auf, schmetternde Töne" while its first movement became the sinfonia of Falsche Welt, dir. The "affetuoso" movement in the fifth of these works uses a theme from Louis Marchand in addition to featuring a 65 measure solo cadenza for the new harpsichord in (*) Cothen. The fourth strangely suggests the use of two "echo flutes," and the sixth uses no violins and instead features two violas and two violas da gamba. Presented to Margrave Christian Ludwig in 1721, for 10 points, name this set of six concerti by Johann Sebastian Bach.
Pablo Casals substituted a soprano saxophone for a trumpet in his complete recordings of these works in 1950 and 1964.
{Brandenburg Concertoes} [{also} accept {Six Concerts} à {plusieurs instrument}]